time's up portfolio english

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TIME’S UP Laboratory for the composition of experimental situations current Oct 2015 • I n d u s t r i e z e i l e 3 3 B • A - 4 0 2 0 L i n z / D o n a u • p h o n e + 4 3 / 7 3 2 - 7 8 7 8 0 4 • e - m a i l : i n f o @ t i m e s u p . o r g • h t t p : / / w w w . t i m e s u p . o r g

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Time's Up - laboratory for the construction of experimental situations. An overview in current and past works and interests of Time's Up

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Page 1: Time's Up Portfolio English

TIME’S UPLaboratory for the composition of experimental situations

current Oct 2015

• I n d u s t r i e z e i l e 3 3 B • A - 4 0 2 0 L i n z / D o n a u • p h o n e + 4 3 / 7 3 2 - 7 8 7 8 0 4 • e - m a i l : i n f o @ t i m e s u p . o r g • h t t p : / / w w w . t i m e s u p . o r g

Page 2: Time's Up Portfolio English

Time’s Up is a nonprofit organisation founded in 1996 in Linz Austria, to investigate the possibilities of haptic interac-tive human scale situations. As a laboratory for the composi-tion of experimental situations, Time’s Up creates narrative spaces, especially in the context of constructing models of possible futures and building physical narratives that ex-plore contemporary sociopolitical issues.

We see our mission as investigating the ways in which people interact with and explore their physical surroundings as a complete context; discovering, learning and commu-nicating as they do. Thus our research is based upon con-structing interactive situations not unlike the normal physical world, inviting an audience into them and encouraging their playful experience-driven exploration of the space and its behaviours, alone or in groups. In this research process we use tools, techniques and approaches from the arts and de-sign, mathematics, science and technology as well as sociol-ogy and cultural studies. We are internationally networked and engage in an ongoing exchange with many partners, from neighbours to distant collaborators.

Our goals are to collaboratively investigate the world and its possibilities with a general public, communicating and discussing these discoveries through workshops, publica-tions, teaching and symposia. In earlier years the concen-tration upon the body of the visitor was fundamental. Per-ception based within the physical body has been a thread through many situations implemented, the loop of control and perception through the biomechanics of the body was one of the main arms of research. In later years we have added layers of character and psychology, inviting the visi-tor to investigate lived in spaces to understand the fictional inhabitants and their stories, desires, ideas and dramas.

In addition to the construction of the above mentioned experimental situations, Time’s Up tries to maintain open structures, organising various types of event series from pres-entations to symposia, discussions and workshops.

With the following selection we would like to give you a closer look at our existing and emerging installation works.

Further information about our past and current activities, research processes and results can be found at: http://www.timesup.org

TIME’S UPGeneral Information

TIME’S UPContent

• Phys i ca l Narrat ives

• Publ i cat ions

• Res i l ient S t ruc ture• Interac t ive Ins ta l la t ions• Workshops &Sympos iums

• Events &Fes t iv i t ies• Prac t i t ioners in Res idence

• PaneuropeanPro jec ts

Page 3: Time's Up Portfolio English

Who has not now and then used the well-known idea of not letting the truth get in the way of a good story? Storytelling is a fundamental human ability. The invention, telling, hearing, understanding and re-telling of stories is, according to several cognitive scientists, a central element for our ability to give meaning to life or filter meaningfulness from life. The poet Simon Ortiz even goes so far as to say that there are no truths – only stories.

A few years ago Time’s Up began to involve ourselves intensively in the invention and construction of character based stories. Story-worlds are shaped around the characters’ lives, experiences, interests and passions, which can be explored in real, accessible rooms as physical and tangible exhibi-tions. The central research focus of “physical narratives” is to investigate the potentials as well as the problems of the creation, implementation, presentation and consumption of physically prepared narratives in real existent rooms.

In general we consider monolithic narrative styles as outdated as they often seem pale and unevent-ful in their communication of contents. Furthermore we claim that they are losing more and more relevance – especially in contemporary European culture. It seems that the audience wants to be challenged. In contemporary popular narratives we see developments that encourage us to carry on this exploration in narrative development. Concurrent narrative lines, multifaceted character draw-ings, synchronicity within the multiple and varied use of media, as well as an invitation for (inter)active consumption are the focii of our “Physical Narration” productions and are all found in parts of contemporary narrative culture.

Comparable to a theatre without actors or a fixed chronological sequencing, the spaces invite visi-tors to move around freely. They are encouraged to touch and investigate all props, such as material objects, augmented media, even the overriding atmosphere, in order to examine them and investi-gate the possible intended meanings. The story elements emerges as the visitor explores, following their interests and the clues in the space.

Similar to the methods of a detective, the situation – quasi a crime scene – is set up (by us) to be inspected and analysed (by the visitor). By this investigation of evidence, the circumstances of the crime, or in this case, the narration, is able to be reconstructed

Our starting point are the well-tested techniques of stages and film as these fields already have extended strategies regarding the communication of important and convincing content. We focus on these in order to develop new methods, which are used to to design similar competencies in the area of semiotically strong communication systems for physical narratives. This development is ongoing, experimental and explorative, stay tuned for more details or feel free to join the troupe!

TIME’S UPPhysical Narratives

http://timesup.org/physicalnarration

Mind the Map looks at ways in which migration is being dealt with. Presented as a physical narrative staged in real space that the audience can explore and discover for themselves, the artwork focusses on the practices in European migration and asylum policy, in particular on the flow of immigrants across the Mediterranean.

The fictional main character, Christine Kollan, is dealt a blow by fate as she is imprisoned for rescuing drowning migrants at sea. While imprisoned fate befalls her again as she becomes sole heiress to the fam-ily company, confronting with the public the questions of influence that European policy has on migration and fleeing a country are discussed in relation to the way we all live and behave:

How can, should and must concepts for the coordination of migration throughout Europe and all over the world take shape in order to meet the many different requirements - the humanitarian ones above all? Which role can and must social or economic politics have and in which proportion to one another should these factors bear influence? When can/should/must somebody go/stay/live/work/vote/reside some-where and under which conditions? Will established industrial nations continue to insist on systems of segre-gation, superiority and inequality, or will it be possible for them to move towards acceptance, globalisation, cosmopolitanism, multiculturalism and comprehensive equality?

Mind the Map is produced as part of Future Fabulators, a pan-European project, funded with support from the European Commission, The Arts and Culture Division of the Federal Chancellery of Austria, Kulturland Oberösterreich and the City of Linz.

TIME’S UPPhysical Narrative: Mind The Map

http://timesup.org/MindTheMap

Page 4: Time's Up Portfolio English

Lucid Peninsula is an atmospheric installation designed to immerse participants, sketched as a possible future storyworld where changes to the Earth’s atmosphere have led to the emergence of new species, conditions, and ways of life. Fragments of memories and dreams belonging to the inhabitants of the previous era still linger in this new world, hovering over certain locations. A futuristic world that feels familiar yet strange: an eternal twilight of dreamlike metaphors and shape-shifting beings. Environ-mental living conditions have radically changed and the search for green plants has become crucial for survival. The outside air is toxic: not immediately lethal, but requiring special gear and treatment after exposure.

Lucid Peninsula is sketched, developed and implemented in close cooperation with Madeira Interac-tive Technology Institute (PT), FoAM (BE) and AltArt (RO) as part of Future Fabulators, a pan-European project that aims to explore and prototype possible futures within a cultural framework.

As part of Future Fabulators, Lucid Peninsula is funded with support of the Culture Programme (2007 - 2013) of the European Union, The Arts and Culture Division of the Federal Chancellery of Austria, Kulturland Oberösterreich and the City of Linz.

TIME’S UPPhysical Narrative: Lucid Peninsula

http://timesup.org/LucidDreaming

Four generations of family, crossing the Atlantic and the world, wanderlust and itchy feet, follow-ing instincts, and escaping dangers. Rolled up together, a collection of personal detritus and family heirlooms, love letters and returned post in a travelling wardrobe that holds their history, their desires and perhaps a bit of their future.

Unattended Luggage appears to be simply an antique piece of luggage, not out of place on an At-lantic steamship liner from the early 20th century. The drawers of the luggage, a traveling wardrobe, contain elements of each character. Moving images, audio traces, photographs, perfumed letters and the well organised items of daily use are arranged to outline the story of this family. The audience is invited to open drawers, read letters, watch the newsreel and fall into the sound collage that accompa-nied the first generation as they headed for the bright lights and academic future of New York.

Each drawer, that previously might have held spare socks or a shaving kit, contains the relics that tell a chapter of the story. The first drawer contains an unread letter that was written to her parents, the returned letter that says they have been moved on, the forms filled out at Ellis Island and other parts that help the audience to put together that chapter of the story. The case and the relics begin to form a mobile family shrine filled with the venerated artefacts of generations past and present.

TIME’S UPPhysical Narrative: Unattended Luggage

http://timesup.org/UnattendedLuggagePHYSICAL AND ALTERNATE REALITY NARRATIVES

PARN

Page 5: Time's Up Portfolio English

Stored in a Bank Vault (a part of PARN) explores the tools and motivations of bank heists, secret tunnels, ancient cultures, magical powers and the interconnectedness of the global financial system with every-thing else. The walk-in and walk-through story, which opens up the more an audience is rummaging in it, gives a tantalizing glimpse into the lair of bank robbers, their personal belongings combined with their working environment. As the visitor dived from the general layer of a bank heist, into what they are steal-ing, what it can be used for and what they want to do with it, the tables are repeatedly turned.

The visitor encounters a hidden lair of a group of bank robbers, preparing for a bank heist through the sewers of the city. The observation systems, plans for the heist, drugs for the guards, the digging equip-ment: all can be found in this contained space. As the visitor digs, they can get deeper into the story; what the bank robbers are looking for, the fact that this is one heist in a longer series, what else they have broken into, what they are looking for, what it can do... The list goes on, as the intentions of the group are complex. Parallel to this, the visitors are invited to explore the personal relationships of the characters, bases of trust, favours, desires, motivations and all the intricacies of four characters who have been working closely together in these series of heists.

The visitors are invited to explore. Who are these people, what are they looking for, what are their rela-tionships? Most importantly, what is Stored in a Bank Vault?

TIME’S UPPhysical Narrative: Stored in a Bank Vault

http://timesup.org/stored-bank-vault

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PHYSICAL AND ALTERNATE REALITY NARRATIVES

PARN

Time’s Up is an organisation heavily centred on the workshops, the studios, the space that they use as their base for developing, planning, building, experimenting. At the nexus of this swirling mass of activity and action is the kitchen, the eye of the cyclone, the one place that has stayed the same over the years, slowly accreting the story of Time’s Up, its activities, its projects, its interests and its people.

The Kitchen is the heart and soul of the group, the core of the collective Time’s Up. This Kitchen tells a lot of stories - this time it did in Hong Kong. Invited to exhibit “ourselves” as an “Art Lab” we were unsure what to show. The one part of the moving maelstrom that is Time’s Up’s production facilities in Linz is the kitchen, the place where daily meals, morning coffees, late night discussions take place and many ideas are born, honed and prepared to be brought to fruition.

The exhibition involved the re-creation of the physical space of the kitchen, with a working fridge and stove, with the decoration, fifteen years of maritime kitsch, delivered from Linz. The window that usually looks over the Danube looked over Victoria Harbour, the flags of the neighbouring model airport were replaced with Chinese and Hong Kong standards.

In the exhibition, The Kitchen took on the role it has in Linz – the place for comfortable conversa-tions, coffee and tea, even meals. When the decorations returned to Linz to be rehung in the original kitchen, we found small notes and other contributions from the expedition to Hong Kong. The Kitchen continues to grow.

TIME’S UPPhysical Narrative: The Kitchenhttp://timesup.org/content/kitchenPHYSICAL AND ALTERNATE REALITY NARRATIVES

PARN

Page 6: Time's Up Portfolio English

20 Seconds into the Future’ is a room installation that investigates the identity of mathematicians and the all-too-human desires to transcend the limits of humanity and mortality.

The visitor is initially confronted with a simple question: where is the protagonist? In the process of browsing the scene, they receive more insight into the character and motivations than a real confron-tation could possibly provide. With various interests presented in parallel, a visitor might choose to experience his personal history, mathematical games, science fiction, philosophical motivations or other ideas presented in the room.

The work ‘20 Seconds into the Future’ investigates, on a formal and aesthetic research level, the pos-sibilities of removing a basis narrative guide in the form of a given video base and creating multiple parallel loops of linear narrative to be investigated by the visitors. The formal slide-show presentation of mathematical ideas, family photos, computer generated visualisations, annotated posters, a talk-back radio interview, half written letters, messages on the answering machine, emails arriving, physi-cal devices and the results of his experiments: this collection of objects, found- and explorable in a conventional office of an university, form aspects of the narrative and character background between which the visitors can freely hop in order to develop their own understanding of the story.

TIME’S UPPhysical Narrative: 20 Seconds into the Future

http://timesup.org/content/20-seconds-future

Domestic Bliss was the first public situation that integrating our development towards physical nar-ration. An audiovisual, interactive story around a crime in the early sixties is told in an apartment through the furnishings, the relics and the audiovisual environment.

The flat on the first floor of the backyard building seems to be inhabited, there are signs of human activity everywhere. Who lived here? What kind of relationships did they have to the space? To their neighbours? To the house? To the city of Linz? How real was their domestic bliss? The work asks questions about what traces a person leaves in a room. Can you identify the character of somebody by just seeing their private space, can you uncover their story?

A project within the scope of Linz09 & gRig (supported by The Culture 2000 framework of the Euro-pean Commission) with additional support from BMUKK, Land OÖ and the city of Linz.Planned and realised together with Alex Davies

TIME’S UPPhysical Narrative: Domestic Bliss

http://timesup.org/content/domestic-bliss

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Page 7: Time's Up Portfolio English

Tales of Resilience traces stories from people who travel and traveled between regions, cultures and continents. People who moved and move between their origins and other worlds. Tales of Resilience documents and shares their experiences, their adventures and their perceptions. The project archives what these people left behind them, what they have taken with them, what they collected and what they lost on their paths. Whether forced to move or by their own volition, whether for reasons of family, politics, religion or livelihood, the stories are tales of resilience, the ways that people react to their circumstances in so many ways.

Tales of Resilience is a collaborative storytelling project by Austrian and Zimbabwean artists. The documented and narrated outcome of this collaboration between Time’s Up, Austria-Zimbabwe Friendship Association, Pamberi Trust, local artists and art institutions is continuously extended and has been presented in the National Gallery of Zimbabwe, in the Book Cafe in Harare, at several festival in Austria.

As part of Future Fabulators, ToR is funded with support of the Culture Programme (2007 - 2013) of the European Union, The Arts and Culture Division of the Federal Chancellery of Austria, Kulturland Oberösterreich and the City of Linz.

TIME’S UPPhysical Narrative: Tales Of Resilience

http://timesup.org/ToR http://timesup.org/europeancultureparticipation

TIME’S UPPANEUROPÄISCHE PROJEKTE

Since the year one Time’s Up endeavors the cooperation with regional, national and international partners. A network covering all continents is fostered and continuously extended to maintain syn-ergies which enrich our and our partners work. Pan-European projects, operationssupported by the Culture-programmes of the European Union have led to a range of many-faceted results over the last years.

Page 8: Time's Up Portfolio English

http://www.changingweathers.net/

TIME’S UPpan-European projects - selection: Changing Weathers

Changing Weather (CW) – networked responses to geophysical, geopolitical and technological shifts across Europe is a cultural program with partners both from the European “core” and its political and economic “periphery”, with partners from countries of the East and of the West, from the North and from the South.

Within CW the focus is on exploration of migration of people, capital, ideas, traditional and local knowledge, scientific knowledge, open source technologies and methodologies. CW interconnects high and low culture, art & science, local & traditional knowledge (LTK) with scientific approaches to the understanding of natural and social systems. CW propagates the rise of the structured DIY move-ments, and explores historical & cultural origins and potential cultural and creative futures on the North+South+East+West axes of Europe.

Changing Weathers is implemented with the support by the Creative Europe programme of the Eu-ropean Union, The Arts and Culture Division of the Federal Chancellery of Austria, City of Linz and Kulturland OÖ

project timespan: 15th November 2014 - 14th November 2016Partners: Zavod Project Atol (SI) - coordinator, Ljudmila (SI), Hilde Merete Methi (NO), The Finnish Society of Bioart (FI), Stichting Sonic Acts (NL), RIXC Center for New Media Culture (LV)

http://timesup.org/FutureFabulators

Future Fabulators is a two year project to investigate future scenarios for European culture and to build bridges from these possible scenarios into contemporary everyday life. These bridges are constructed by attempting to make these scenarios intelligible for European citizens using two techniques. One is the Prehearsal system developed by FoAM, based upon the “Nothing can surprise us” exercises, invit-ing participants to delve into possible futures as themselves in that future. The other technique are the explorable Physical Narratives developed by Time’s Up, allowing a visitor to explore the living space of a fictional character in that future scenario.

Future Fabulators follows a cyclic model of developing large scale Storyworlds using Scenario Plan-ning and Future Forecasting methods. Inside these worlds, practitioners flesh out sketches of prehears-als and physical narratives in order to explore the possibilities of that storyworld. Fleshed out pres-entations of more developed works are then made publicly in order to more deeply investigate the storyworld. From this learning experience, a new round of scenario planning can be undertaken.

Future Fabulators includes a series of learning and sharing events. Here we will have a Data Ecolo-gies symposium based around the field of experience as an ineffable qualia and the description of that experience as language, brain states or design principles. A Narrative Strategies symposium will also take place, as well as exhibitions in France and Romania, and workshops in Belgium and Portugal.

The project has grown from our processes within the Resilients and PARN projects, where resilient and adaptable European culture questions are being investigated with the tools of physical and alternate reality narratives and other storytelling and story exploration methodologies.

Future Fabulators is a collaboration with AltArt (RO), M-ITI (PT) and FoAM (BE).project timespan: 1st Sep 2013 – 30th Jun 2015

Future Fabulators is made possible with the support of the Culture Programme 2007 - 2013 of the European Union, with additional support from BKA, Land OÖ and the city of Linz.

TIME’S UPpan-European projects - selection: Future Fabulators

Page 9: Time's Up Portfolio English

http://timesup.org/parn

PARN (Physical and Alternate Reality Narratives) was a two year project to design, develop, create, exhibit and analyse contemporary forms for storytelling in a pan-European context. PARN recog-nised that the current trend for complex multimediated narratives is not just a passing fad and ac-knowledged that today’s culture is progressively more explorative, pluralistic and networked. PARN investigated the ways in which physical spaces can be imbued with elements; media, objects, texts, interactions and their arrangements, in order to effectively express a narrative situation. In this sense PARN investigated contemporary narrative practices as they emerge from the confines of the stage and screen, becoming immersive situations within which a story is expressed as a completeness.

PARN incorporated strong streams of cultural production, professional development, community out-reach, exhibition and dissemination in order to create a wide contribution throughout the activities of the project. PARN operated as a learning situation for professionals and an interested public as well as a research environment for artistic and aesthetic research into these emerging fields. As a cultural development and exhibition project PARN investigated trans-European and transdisciplinary narra-tive practices of interest to a professional audience as well as the general public. As a collaboration with FoAM (BE), Lighthouse (UK) and Blast Theory (UK), PARN allowed a strong interdisciplinary development and fostered significant exchange between practitioners.

project timespan: 1st May 2011 – 30th April 2013

PARN enabled us to further develop the practice of story building and has strongly influenced the project Future Fabulators, which carries on this development.

PARN was made possible with the support of the Culture Programme 2007 - 2013 of the European Union, with additional support from BMUKK, Land OÖ and the city of Linz.

TIME’S UPpan-European projects - selection: PARN

PHYSICAL AND ALTERNATE REALITY NARRATIVES

PARN

Resilients fosters cultural resilience by blending diverse European traditions with emerging arts and technologies, strengthened through intercultural exchange of people, ideas and works. Resilients are cultural workers of all ages preparing for uncertain futures by studying and experimenting with new models of living and working as a form of artistic practice.

Resilients consortium includes artlabs, artist-run organisations and an academic institution, from Austria, Belgium, Slovenia, Sweden and the UK, along with their international networks. Each part-ner has a specific approach to resilience, adding value to Resilients’s trans-national collaboration. The project provides the partners with an opportunity to empower cultural workers to engage with Europe-wide cultural resilience, while functioning as a compelling narrative to engage with diverse public contexts.

Resilients has four primary motivations: to collect, create, share and support the development of resil-ient creative practices, that can contribute to the long-term sustainability and prosperity of European culture. Current and historic models of resilient culture are collected in residencies & field trips. These models are integrated with contemporary artistic forms, in five case studies: experiments with new materials, media and technologies in the context of endangered crafts, urban gardening, sustainable forestry, contemporary pilgrimage and future readiness.

Resilients is a collaboration FoAM (BE) coordinator, Nadine (BE), Performing Pictures (SE), Future Tex-tiles (UK), Zavod Project Atol (SI)

Resilients was made possible with the support of the Culture Programme 2007 - 2013 of the Euro-pean Union, with additional support from BMUKK, Land OÖ and the city of Linz.

TIME’S UPpan-European projects - selection: RESILIENTS

http://timesup.org/resilients

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Page 10: Time's Up Portfolio English

A resilient system is both flexible and robust. It is continuously engaged in the delicate balancing act of growing and evolving, adapting to change and discarding unsustainable elements. Change is a never-ending process, becoming less predictable as our habitats, societies, economic and techno-logical systems increase in complexity and become more interdependent. To respond to unpredict-ability, we can look at improving human ability to face and embrace change, whether perceived as positive, negative or neutral (e.g. the birth of a child, environmental crisis, or moving house). By integrating different approaches to developing resilience, we can strengthen the “immune system” of a culture as a whole.

What runs under the moniker of resilient structures in our laboratories embraces several aspects which are loosely tied together through a definition, which was shaped in collaboration with several initiatives spread out over Europe.

The direction is committed to encouraging the development, adoption and understanding of resil-ient social structures and cultural practices through a programme of research, creation, professional development, presentation and communication activities. Resilients will forecast and experiment with possible futures based on the rich cultural heritage of the European peninsula. We focus on a unique-ly European culture, that is locally dynamic and diverse and globally resilient and stable.

Due to the heterogeneous background of the contributors these intentions are implemented in vari-able ways, approached via different methods and angles, leading to various results and outcomes. It is of interest to see the ways that various interpretations of resilient culture and resilient structures arise and how the larger scale collaboration deals with this disparity. Resilience, unlike sustainability, is neither static nor uniquely defined.

TIME’S UPResilient Structures

http://timesup.org/content/resilient-structures

Our workspace, situated on the verge of the city, on the industrial harbour but still in an urban envi-ronment, offers clear connections to the fields of urban gardening, vertical and other nonstandard systems such as floating, hanging or even “non-green” gardens. Influenced by the geographical lo-cation, spoiled with sunshine and immediate access to a water area, our interest in the creation and maintenance of experimental and alternative horticultures has been aroused over the past few years.

Developments within “Augmented Urban Gardening” include:

- Urban (fringe) gardening: creating & maintaining productive gardens in the urban & indus-trial areas- ‘Neo-crafting’ techniques: mixing pre/early-industrial mechanics with modern technologies to obtain autonomous sculptural elements, turning gardens into responsive artworks.- Experiments with energy autonomy: using renewable energy & recycled industrial materials to power (horti)cultural applications.- Gardens as eco-arts venues: exploring the boundary between urban/rural, public/private space to find different ways of gardening & creating in a city context.

TIME’S UPResilient Structures - Augmented Urban Garden

http://timesup.org/AUG

Page 11: Time's Up Portfolio English

‘I am... a mushroom on whom the dew of heaven drops now and then’ John Ford, The Broken Heart (1633).

Wanting to explore new possibilities for the precarious harbourside gardens, we made a call for a gardener and machinist in residence for 2012. Natalia Borissova’s “Non-Green Gardening” was the selected project, with its extension to our previous gardening practices.

Non Green Gardening is a series of living-lab experiments with mushroom cultivation through re-search, curiosity and practical experience, involving some technological elements and based on bio-remediation and conversion of locally available raw organic by-products from households, gardens, farms, forests and agriculture into the brain/soul/soil-consciousness sustenance.

Throughout the growing period of six month, Natalia Borissova was on-site at the harbourside labo-ratories three times to follow the fungal kingdom’s eternal process of turning death into life, toxins into food and unstable into sustainable. Workshops, presentations and, of course, feasting were important parts of the Non Green Garden’s activities.

Who said ‘Life is too short to stuff a mushroom’?

The project is part of the pan-European project Resilients.

TIME’S UPResilient Structures - Non Green Gardening

http://timesup.org/NonGreenGardening

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By making a series of trips along several watercourses in Europe and Australia, Control of the Com-mons (CoC) aims to undertake an artistic exploration of the relationship of people to water and the way that effects travel along watercourses.

Mapping friendship networks along the watercourses, water quality and water usage, the architecture of the banks and the neighbouring buildings, we envisage that an image of the communities’ relation-ship to water as a common resource will become clear.

The project process is designed to be as low impact/sustainable as possible. The vessels are powered by humans and nature; rowing, sculling, poling and sailing, avoiding the need to walk into town and search for fuel. The “Three Rs” are integrated into the core process of CoC: Reduce our need for oil products and other expendables; Reuse technologies to avoid waste; Recycle the vessels at journey’s end.

These goals are not contradictory. By slowing down the speed of movement we become more open to the distinctions along the way, able to observe and interact with the community along the riverbanks, study the flood control mechanisms and the levee banks. Our movement produces few waves, so is less damaging to the river banks and quieter, disturbing less wildlife.

TIME’S UPResilient Structures - Control of the Commons

http://timesup.org/coc

Page 12: Time's Up Portfolio English

The Time’s Up Boating Association (TUBA) is a loose affiliation of boating practitioners based around Time’s Up. By default our activities revolve around the Danube, however our interests are far reaching.

We have a strong interest in (Kitsch) Boat Art, in particular we are eternally searching for the perfect “Boat in Storm” (oil) painting. The Time’s Up Galle(r)y has been a place for the collection of these won-derful art works for over 15 years now and we are grateful for a vast array of donated works from many friends and acquaintances. Feel free to donate to our collection.

We have always used the adjoining harbour for recreational boating and water based activities. This has proven to be of great value in decompressing high performance contemporary artists, distracting them from goal oriented arts creation behaviour. Artists In Residence such as Nik Baginsky, Triclops and Mar-nix de Nijs have felt the invigorating effects of the Linz Industrial Harbour.

In 2006 we hosted a meeting for practitioners working with the Danube and shipping in general, exhibit-ing several works in our workshop space. Franz Xaver with his boat Franz Feigl has been a resident here and we undertook an official renaming event with a failed theology student and self proclaimed king as our name takers and name givers. Markus Luger has built a steel catamaran and Leo Schatzl is converting a motor boat into a mobile studio. The Control of the Commons project was undertaken in 2011-12 with vessels built for story collecting voyages along several waterways.

TIME’S UPResilient Structures - Time’s Up Boating Association

http://timesup.org/TUBA

3D Printers or Fabricators are on the verge of wide distribution at the moment, a system that allows for the precise construction of more or less arbitrary three dimensional objects point by point. The pos-sibilities of these systems are only now beginning to be explored.

Based on RepRap (Replicating Rapid Prototyping) Mendel we, together with Christian Haas and Chris Müller, designed our own 3D-Printer. Within months we were celebrating our first “proper” print-outs. The next step was the production of a 3D milling machine, which again is capable to produce parts which are needed for the 3D Printer to rebuild itself, in particular electronics.

We already have and will most certainly find many boundaries where our frustrations will become apparent, for instance strength of materials and accuracy of construction. Still, we are convinced we need to access and utilise these tools in order to experiment with the possibilities of these systems. In particular we are interested in the possibilities of unusual structures, such as the flexible textiles built from small interlocked parts. We are also interested in the merging of traditional hand-crafted and machined parts, mass produced parts and the possibilities of custom built elements from the fabricator that merge these effectively.

Through workshops and networking, we invite practitioners to experiment with these technologies and to develop their own adaptions – several machines have already been built from our systems.

TIME’S UPResilient Structures - Rapid Prototyping Studio

http://timesup.org/TURPS

Page 13: Time's Up Portfolio English

TIME’S UPINTERACTIVE INSTALLATIONS

With their interactive installations Time’s Up creates large-scale, multimedially accented, room filling architectures.These environments are playfully designed adventure and exploration worlds. The audience is invited to participate actively to the rearrangement of the existing conditions and to become active protago-nists rather than passive observers. Through playful exploration the visitor becomes a “protoscien-tist,” exploring this strange new world.

Sensory Circus is an interactive intermedia installation, the dramaturgy is oriented towards establish-ing spatial situations for a limited period of time. The audience is invited to actively participate in the media and architectural rearrangement of conditions within this installation. Specially constructed in-terfaces requiring the conscious and active use of the whole body enable each visitor to arrange their own audiovisual environment and thus manipulate and determine the character of the installation.

Interventions in various computer-animated game worlds are supported, as well as the rearrange-ment of acoustic and visual landscapes. Aside from this very direct influence, the activities of the audience with the interfaces of the installation are registered and processed. The manipulation of and subsequent changes in the environment that are calculated from this data are then presented to the public. Changes include a constantly adapting spatial architecture, shifting light and temperature conditions, alterations of acoustic and visual representations, modifications of the way individual interfaces function, even changing the rules of computer games.

The result is a circular dependency between the visitors and their surrounding environment. An active audience causes changes in the general ambience. This ambience that is modulated in real time forces the audience at times to adapt planned activities. Every further action on the part of the audi-ence results in a new reformulation of the parameters of the space.

TIME’S UPInteractive Installation: Sensory Circus

http://timesup.org/sensorycircus

Page 14: Time's Up Portfolio English

Children’s playgrounds are familiar to the majority of society. For most of us, playing is an embodi-ment of effortlessness and freedom, while it also helps us learn, laugh and enjoy unforced sociability. How often have we wished to regain the lightness of childhood? The Mood Swings accommodate this wish. They deal with one of the main themes of Sensory Circus, the human capacity for holding and understanding balance and imbalance.

The replication, adaption and modification of various pieces of playground equipment that we aspire to is by no means intended to be merely a copy. What is initially important is the principle recognition of the equipment, which raises the probability that the audience will know how to oper-ate these instruments, as well as allowing feelings of movement familiarity. As well, these objects have long been able to create joy and support certain types of movement; why re-invent the wheel?

The specific play apparatuses that can be seen are swings, see-saws, rotating platforms and carou-sels. Consequences triggered by use include modifying or generating acoustic musical landscapes and flickering film effects. The light situation in the Mood Swings area changes according to the ac-tivity and type of use. Projected image material (primarily real-time cameras) also changes according to the efforts on the part of the audience. Collective use of the objects remains important, whether through the shared use of an input device or the cooperative manipulation of the surroundings. It is hard to see-saw alone.

TIME’S UPInteractive Installation: Mood Swings

http://timesup.org/content/mood-swings

Lightning District involves a movement-sensitive, flexible grid projected onto the floor. The projec-tion reacts optically and acoustically to the movements of the users. An acoustic carpet, so to speak, formed by the various paths of the public, induces an audio stroll and distracts from goal-oriented striding. The grid is projected onto the floor with two projectors mounted above the playing field. All the movements of the visitors are detected with an IR camera. The grid reacts with altered visual representations and acoustic stimulations.

Fields on the floor change and begin to rotate, for example, when someone steps on them, sound is played at the same time. A multichannel system makes it possible to position the sound in the playing field.

The Lightning District works well in highly frequented zones with a lot of movement, especially in passages. The visitors step on it unconsciously, but after a few seconds they recognize the acoustic and visual reactions to their movements. They reduce their speed, movements become more purpose-ful and more playful at the same time. Causing an effect awakens a desire to experiment. Both the images on the floor and the soundscape can be arbitrarily selected and played and exchanged with other sounds and images. Even the use of single video clips or live camera projections in the various grid surfaces is feasible.

TIME’S UPInteractive Installation: Lighning District

http://timesup.org/content/lightning-district

Page 15: Time's Up Portfolio English

Athletic use of the whole body, game and music, united into a simple interface pair allowing two people to play a strangely familiar, yet modified video game. A different kind of Pong.

Here it is not the conventional television monitor that serves as a playing field, but a 6x4m floor area. Ball and bats are cast from the ceiling to the floor with controllable spotlights. The movement of the ball across the playing field is associated with various, manipulable sound fragments, positioned over the playing field through a multichannel loudspeaker system.

The bats are controlled through a body-sized interface, which is so conceived that the bats can only be moved by changing the body’s centre of gravity.

Sound samples from old computer games are acoustically modulated through a control panel attached to the interface. Two joysticks and selector switch serve as input controls to adapt the sound. In this way, players can alter the time (pitch & length), space (effect selection) and angle (effect parameters) of the individual sound sequences. If the ball thrown by the opponent is hit, the manipulations that are carried out are transferred to the loudspeaker array. If the player misses the ball of light, it is the opponent’s turn again, but with a different sound piece.

The goal is not necessarily to win, but rather to establish a fascinating, mutable soundscape in the space. Balancing and making music, simultaneously mastering a video game.

TIME’S UPInteractive Installation: Sonic Ponghttp://timesup.org/content/sonic-pong

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SPIN, the Spherical Projection Interface, is a new kind of interface enveloping the entire body between the real and the virtual world. SPIN is a three meter diameter translucent sphere of rear-projected material, which is supported on bearings allowing it to roll in all directions. The walking movements of the person inside the sphere are tracked and fed into a computer system. Informa-tion relating to the user’s position data serves as parameters for navigation in a three- dimensional computer-generated world. This 3D world is projected onto the surface of the translucent sphere with several projectors. The resultant immersion of the whole body in a virtual space enables a panorama view such as has never been seen before, while the user achieves an unconstrained freedom of walk-ing movement in every direction.

BodySPIN comprises a series of computer applications that Time’s Up has developed for the interface SPIN and its users. The starting point was to track bodily functions that can be consciously controlled. This data generates and manipulates the constitution of the virtual world in which the user moves.Muscle activity, breathing and pulse rate are the functions used. This data from the user, which is col-lected through specially constructed instruments, is sent to a central computer via a wireless connec-tion. The resultant parameters of manipulation are immediately integrated into the environment and projected onto the sphere.

TIME’S UPInteractive Installation: SPIN & Body SPIN

http://timesup.org/content/body-spinI n t e r f a c e

Spher

ical Projection

Page 16: Time's Up Portfolio English

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The Hyperfitness Studio was the first large-scale joint production by Time’s Up. Work started in late 1996 on the development of an interactive installation dealing with a sustainably active integration of the audience. In view of later projects, this emphasis has obviously remained a primary character-istic of our productions. Human capabilities of perception, bodily control and learned biomechanical abilities were already the focal point of our interest in this production, as in all subsequent produc-tions.

In the Hyperfitness Studio we chose devices as interfaces that are widespread and known in eve-ryday use. The bicycle was adapted in different variations to serve as an input device for virtual worlds. The effect of riding a bicycle that is familiar from everyday life was inverted. Pedalling suddenly had an unexpected effect, such as controlling sound in the space, navigating through a computer game, triggering various video sequences or even unconsciously ordering a can of beer. The voice became a navigation system, sound massaged, a screen based bartender mixed sport and philosophy. The parallel world of the Hyperfitness Studio invited exploration, life and joy.

TIME’S UPInteractive Installation: The Hyperfitness Studio

http://timesup.org/content/hyperfitness

Anchortronic is a Time’s Up audio project in cooperation with the music label Staalplaat. It is dedi-cated to experimental electronic music, in particular the process oriented techniques which in their attitude and technique imply and even demand a radical DIY aesthetic.

Sampling, plunderphonics, clicks and cuts, generative sound from self-written applications, key-words and techniques that paraphrase the expressions of a global development, yet in no way set boundaries or categorise. They have in common an attitude which not at last demands the punk attribute – but without Cyber or … is (not) dead.

The willingness to experiment, to take ideas, as such, unconditionally and aim for their realisation, even if or even because being in the middle of the work progress a new idea could change the whole direction of the present process. This attitude confirms itself within the absolute not-commercial direction of a course through the negation or exaggeration of established mainstream culture.

TIME’S UPANCHORTRONIC

http://timesup.org/content/anchortronic

Page 17: Time's Up Portfolio English

Workshops, conferences, lectures, symposiums, gatherings, tutorials – however the different for-mats are called, they have the same purpose: the exchange of ideas, interests, know-how, skills, etc. They allow for a balanced relation between practical relevance and theoretical debate and support the development and preservation of a broad network of practitioners and theoreticians.

http://timesup.org/workshopshttp://timesup.org/symposiums

TIME’S UPSYMPOSIUMS & WORKSHOPS

Migration, as the orphan of global institution architectures, as termed by Goldin, Cameron and Bal-arajan in “Exceptional People - How migration shaped our world and will define our future” needs to be pulled into the centre of political awareness and needs to be addressed through every single person, interested in equal rights.

With “Possible Futures of Migration” Time’s Up we attempt to do exactly that - we will bring together a range of experts, practitioners, interested and affected people to sketch and develop possible visions of migration management and its effects to our everyday life. Not saying we will be free of value-orientation!

Our interest in the complex subject of migration originates in, or better co-develops along, our current work “Mind the Map”. Mind the Map seizes the appalling effects, caused through current aspects of an European refugees- / asylum and migration policy on the external borders of Europe.

As part of Future Fabulators, Possible Futures of Migration is funded with support of the Culture Pro-gramme (2007 - 2013) of the European Union, The Arts and Culture Division of the Federal Chan-cellery of Austria, Kulturland Oberösterreich and the City of Linz.

TIME’S UPSymposien/Workshop Selektion: Futures of Migration

http://timesup.org/FuturesOfMigration

Page 18: Time's Up Portfolio English

The sea, the open ocean, claims to be and is often perceived as the last free place on earth. Beyond territorial waters, dreams of freedom flourish; over the horizon, paradise awaits. The Law of the Sea looks at the plights and hopes of refugees, seasteaders, pirates, anarchists, free spirits, rescuers and tax dodgers, all of whom inhabit this mysterious realm beyond the national. What rights, what obli-gations, what traditions, what community, what else accompanies us across the open ocean?

The legal and cultural culture of actions and activities - set and happening across the open ocean - are complex as well as complicated. International waters are free spaces for those who practice globalisation from above with ships registered cheaply and globalisation from below by refugees, those who avoid pollution laws with tax free heavy fuel oil, kidnappers and whaling activists, tourists and terrorists. Law and Lore of the Sea investigates possibilities for a more humane, open, free and fair oceanic commons.

This series of events is part of TUBA, Future Rewritten and Future Fabulators - cofounder with support of the Culture Programme (2007 - 2013) of the European Union, The Arts and Culture Division of the Federal Chancellery of Austria, Kulturland Oberösterreich and the City of Linz.

TIME’S UPSymposien/Workshop Selektion: Law and Lore of the Sea

http://timesup.org/LLS01

Data Ecologies was started by Time’s Up in 2003 and is an approximately biennial symposium series, investigating the connections between data systems, processes, physical systems as well as constructed and natural ecologies. The bridge between “real” things and representation, abstrac-tions, models of them. Within this series selected lecturers – specialists in their profession – deliver theses and research papers, raise doubts, explain their metaphors, their proposals, their plans and experiences, in public discussion forums.

The symposium is international and is held in English. The selection of subjects is coordinated by the interests of research within Time’s Up and their international partners.

Viewpoints from various areas, for example mathematics, physics, ethics, computer sciences, sociol-ogy, political economy, are gathered together trans- and inter-disciplinarily.

2014 - Language & Tools to think out loud about Futures2012 - Notation: The map and the territory

2009 - Money as an abstraction2007 - Exploring the connections between data systems, processes and physical systems

2005 - Where does space come from?2003 - Simulations of physics, Physics as simulation

TIME’S UPSymposium/Workshop Selection: Data Ecologies

http://timesup.org/de14

Page 19: Time's Up Portfolio English

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... 7I~~~~~~~~~~~~~~~~~~+7$~:::,,,,,.... . ,=~~:~::::==?7?==~~~~~~~~~~~~~~=+ . ...:??=========++++?????III777777$$7$$$$$$$$$$$$$7$7777777777777II77I7777IIIII7I77I77IIIII777IIII7I77IIIII77777$777$$77777$$$$$ZZ$$ZZZ$ZZZZZ$$$ZZ$$$$$$$$$777I???++??+. . .:7?=~~~:~~~~~~~~====?$I::,,,,,,,..,. ...~~:::::::~==?I$7+===~~~~~~~~~~=?:. .. ..,:==+++++++?+??????????++++++++=+===================++++++++?????IIIII??I??I?IIIIIIIIIIIIIIIIIIIIIII77777IIIIIII????+++++++===========+++++++??????????II???+~... ..~7I~~~~~~~~~~~===+?$$+~:,,,,,,,,.... . ...~~:::::::::::~~++?777$$$$7I??++?77, . ......... . ...............I777IIIIII?+??++,,,,,,,,::::::~~===+++++++++++??+???????+??????????????????I?????????++??????????II??=~~::::,,,,,........... .... ...?7?++??II7$7$$$$I+=~:,,,,,,,,,,,...,.. ..,~::,,::::,:::::::~~~~~=~====+++????+=+==~~:,,..... .. .. . .. ...OD8888DDD888O$$I... . .. .. ..... .. .. .. ....................................=IZO8888DD8D8DDZ.. . .... ........,,:::~~==++++===~~~~::~:::,,,,,.,.,,,,,......,. . .. . ,:::,,,,,..,,,,,,,,,,,,,:::,::,:::::::::::::::::::::::~~~~~====++++??IIIII7777II?~~~::,,,,,,,,,....... . . .. .. ... . . .. ..........,,,,,,::~:I77777777III??+++=====~~~:~~::::::::::::::,,,,,,,,,,,.,,.,.....................,.. .. . .::,,,,............,,,,,,,,,,,,,,::,,,,,,,,,,,,,,,,,,,:::::::::::::::::::::::::::::::::~~~~~~~~~~~~~~=~~~~=================================~~=~=========++=+=++=+==++++=====~~~~~:::::::::::,,,,,,,,,,..............................::.... .. ,:,~:,......,................................,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,::,:::,::,:::,:::::::::::,::,:::::::::~~~~::~~~~~~=~~~~~:~~::~::,:,,,,,......................................,,:,... .. . ..,,::,:::,,,,.,..................................................................,,,,,,,....,,,.....,...,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,......,....,,,,,.:,,,:::,:,::,:::,,,,,,,,......................................,,:,,. . . ..,,,,,,.,,,,,,:,,,..............................................................................................................................................,,.,,,,,,,,,,:,,,,,,,...........................,,,,,,,,.. . ..,,,,,,,,,,:::~~:::::::,,................. .....................................................................................................,....,,,::::::::,,,,,.,,,,,.,,,...,,,,:::::,,,,,,,,,,,,,,,,,... . . . . . ......,,,,,,:,,,,,,,,,,:::::::,,,,,,,,........................................... . .. ....... .... ................................,,,,,,,::,.,,,........,,,,,,,,:::::::,,,,,,,,,,,,,:,,,,.... ... ............,,,,,,,,,,,,,,,,,.,,.,,,,,,,,,,,,,,,,,,::,::::::::,,:,:,,::::::::::::::::::,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,........ .. .. ..... .......................,,,,,,,,,,,,,,,,,,,,.,,,,,,,,,,,,,,,,,,,,,,,.,................. .. . .. . . .. . . . . .. . . .. . . ...... .. . . .. . . . . . .. .... .. . .

FuturePerspectives

PARN - Narrative Strategies 2012

Place:

Funchal, PT

Site:

Madeira Interactive Technologies Institute

Date:

04.12.2012 - 05.12.2012

Future Perspectives on techniques

for the design of narrative experiences

NARRATIvESTRATEgIES

Within the last years new technologies and media have increasingly entered into storytelling. They challenge traditional practices of conveying stories and allow for new perspectives, new contents and new methods, for authors as well as for audiences. Interactive stories, Alternate Reality Games, Pervasive Games, Locative-Based Narratives – all methods to give an understanding of story contents to an audience – but most of all practices in which the audience, every single visitor, user, reader, experiencer plays an important role.

Since 2008 Time’s Up has been dealing with techniques of storytelling on a theoretical level and has initiated the workshop and symposium series “Narrative Strategies”, which has taken place in Austria, Norway, the UK and Portugal.

Narrative Strategies – Prototyping the Intangible (14) Narrative Strategies – Future Perspectives (12)

Act Otherwise (12)Improving Reality (11)

Narrative Strategies (08)

TIME’S UPSymposium/Workshop Selection: Narrative Strategies

http://timesup.org/NarrativeStrategies12

Luminous Green is a series of gatherings about a possible future; about a human world, that is enlightened, imaginative, electrified and most importantly – living in a fertile symbiosis with the rest of the planet. Luminous Green was initiated in 2007 by our Belgian partners Foam, calling on the creative sector to enrich the public debate around environmental sustainability, ethical living, eco-technology and design.

The meetings of Luminous Green want to encourage trans-disciplinary discussions and collaborations between people from different walks of life, artists, designers, academics, activists, social entrepre-neurs, economists and policy-makers. In short, practitioners whose practice incorporates (now or near future) ecological thinking as a core value or as a major concern.

Finding a format for the harbourside labs was nontrivial. Taking the surroundings, with water, steel and lots of broken wooden pallets as an inspiration, we decided to collaboratively build a wood-powered Jacuzzi filled with filtered harbour water. Parallel to this we arranged a series of talks and presentations about practices that seemed connected and relevant: the exchange economy, water cleanliness, artists and practitioners. As part of a practice-oriented workshop all participants were able to collect information about theoretical as well as creative works through lectures and had the possibility to contribute to the respective creative realization.

TIME’S UPSymposium/Workshop Selection: Luminous Green

http://timesup.org/luminousgreen

Page 20: Time's Up Portfolio English

Time’s Up has a long history with technology, electronics and mechanical constructions. Many prototypes are built in our laboratories, using obsolete as well as new technical possibilities. The approach is always very experimental and it’s in the nature of the things that this attitude allows for apparent failure as well as for the incredible (e.g. SPIN).

It is especially this active research and experimentation as a methodology which we would like to share. It is important to us to share knowledge and insights and to ideally communicate these prac-tice-oriented exploratory approaches, separated from mere product oriented thought. The organisa-tion of workshops is therefore a regular field of activity for us.

The „Robotics Workshop“, which we offer to the students of Interface-Culture at the University of Art & Industrial Design in Linz since a number of years and the workshops in collaboration with the University of Applied Arts in Vienna, are the perfect setting for the sharing of our experience and approaches.

TIME’S UPSymposium/Workshop Selection: Robotics Workshop

http://timesup.org/workshops

The laboratory and experiment series Closing the Loop, initiated in 1998, has become a synonym for Time’s Up’s investigations that have a primarily scientific-experimental character. Using methods and approaches that are unusual for classical science, Closing the Loop allows us to newly explore thematic fields.

Depending on the success of the experiments conducted, they are either integrated into later projects or else filed under conducted-but-failed. The subject matter and essence of the individual series of experiments vary depending on areas of interest.

For a successful concluding evaluation, Time’s Up experiments need an audience. This may be to test the audience compatibility of our interfaces or to see whether there is even a point in employing brainwaves or pulse rates as parameters of change in 3D worlds. Public experimental arrangements are therefore a recurrent feature in the Time’s Up calendar of events.

TIME’S UPSymposium/Workshop Selection: Closing The Loop

http://timesup.org/content/closing-loop-98

Page 21: Time's Up Portfolio English

The time when computers were still called electronic brains and television first saw the light of day was also the time of great visions and ideas, which briefly astonished the world of experts and soon vanished again to languish in the drawers of patent offices.

Researching these visions, which were absolutely not intended to be visionary, but practical and realistic, was the focal point of the series Obsolete. Dealing with technologies and media beyond their pure utility value, with the myths, the individual dreams or desires that familiarly emerge alongside new technologies. Investigations of magnificent inventions that would have changed our lives, but were not able to assert themselves and thus had no influence whatsoever on everyday life.

The evening events that have taken place dealt with computer games and ASCII art. The graphic design that was employed was as much a topic of discussion as the operating systems in use at that time. Asciimilation was the motto for lectures by international video and image artists who primarily deal with an image aesthetic consisting of numbers and letters.

TIME’S UPSymposium/Workshop Selection: Obsolete Series

http://timesup.org/content/obsolete-bureau-low-technology

„People doing strange things with electricity“ - this is the motto of the international network, inde-pendent of time and place, that calls itself the DorkBOT society. By holding DorkBOT meetings in our laboratory beside the harbour, Time’s Up has expanded the list of participating cities. Along with cities like New York, Lisbon, Mumbai, San Francisco or Melbourne, Linz works as an additional geo-graphical node in a string of international institutions seeking to form a presentation forum for new works from the area of technology, software and hardware.

This may involve self-programmed software, manipulated electronic devices or specially produced videos, as well as interdisciplinary works such as the creation of interfaces in conjunction with me-chanical elements.

The DorkBOT meetings organised by Time’s Up are intended to enable an exchange among a group of interested people, about practices and methods of working that expand perspectives and knowl-edge. The fact that this idea of exchange can lead to highly constructive and fascinating symbioses between presenters and participants, who are often active themselves, has been proven again by DorkBOT events by Time’s Up.

TIME’S UPSymposium/Workshop Selection: Dorkbot

http://timesup.org/content/dorkbot-lloopp

Page 22: Time's Up Portfolio English

While we see ourselves primarily as a production space, creating environments and curating events, there is also the area of dissemination. With so many interesting things going on, it seems a bit selfish to keep it all for ourselves. Over the years we have published books, pamphlets, CDs, audio cassettes, DVDs and other media, alone or in collaboration with partner organisations.

http://timesup.org/overview/publications

TIME’S UPPUBLICATIONS

Celebrations, parties, music events; these things should not be omitted from our lives. Why shouldn’t we adapt our workshops to a functional party location? The ambience of the location, on the industrial harbour, the lights of Linz in the distance, speak for such adaptions. There are al-ways reasons to celebrate, and there are always people who will help us with those celebrations.

http://timesup.org/onsiteeventshttp://timesup.org/talks

TIME’S UPEVENTS & CELEBRATIONS

Page 23: Time's Up Portfolio English

Time’s Up, as a development space, hasbuilt up a body of material, machines, experience and expertise since we began. We have aimed to share our facilities, whether studios, workshops or know how, with practitioners on a local, regional, national and international level. While some are quick visits in order to discuss projects, build a part or do some electronics, other relationships have led to longer stays, our so called “Practitioners in Residence” as a series of visits, which continue to this day.

http://timesup.org/pir

TIME’S UPPRACTITIONERS IN RESIDENCE Laboratory for the Construction of Experimental Situations

Selection public Appearances

TIME‘S UP

2015 •LucidPeninsula-PhysicalNarrative-Exhibition,Vienna(AT),Oct15 •MindtheMap-PhysicalNarrative-Exhibition,Nantes(FR),Sep-Oct15 •UnattendedLuggage-PhysicalNarrative-Exhibition,Vienna(AT),Sep-Oct15 •FutureFabulators-ClosingEvent,Linz(AT),Jun15 •MindtheMap-pre-Exhibition,Linz(AT),Jun15 •LucidPeninsula-Creativity&CognitionExhibiton,Glasgow(UK),Jun15 •Re/CallingSiachilaba-Exhibiton-Deutschvilla,Strobl(AT),Jun15 •PossibleFuturesofMigration-ScenarioSession,Linz(AT),May15 •ChangingWeathers-kickoffmeeting&Workshop,TrnovskiGozdPlateau(SI)Mar15 •TalkatUTSInteractivationStudio,Sydney(AUS),Feb15 •FloatingVillage-Exhibition,Linz(AT),Jan15 •Re/CallingSiachilaba-Paneldiscussion,Linz(AT),Jan152014 •NarrativeStrategies,Symposium,Funchal(PT),Nov14 •LucidPeninsula-PhysicalNarrative-Exhibition,Cluj(RO),Oct14 •TalesOfResilience-Exhibition,Linz(AT),Sep14 •LucidPeninsula-PhysicalNarrative-Exhibition,Hainburg(AT),Sep14 •TalesOfResilience-Exhibition,Viktring(AT),Jul/Aug14 •TalesOfResilience//HopeMasike-Exhibition&Concert,Linz(AT),Jul14 •X-FactorFutures,Workshop,Porto(PT),Jun14 •LawandLoreoftheSea,Symposium,Linz(AT),Jun14 •LucidDreaming-Storyworld,ScenarioPlanningWorkshop,Linz(AT),Jun14 •„Futurish“-Publication,Jun14 •RoboticWorkshop-„Time‘sUpSharingtheFunofDoing“,Linz(AT),May-Jun14 •DataEcologies14-Symposium,Linz(AT),May14 •TalesofResilience-Exhibition,Harare(ZW),May14 •TalesofResilience-Workshop,Siachilaba/Binga(ZW),Apr14 •FutureLunchbox-Paneldiscussion,Linz(AT),Mar,May,Jun142013 •FutureForecast-ScenarioPlanningWorkshop,Cluj(RO),Nov13 •FutureFabulators,ScenarioPlanningWorkshop,Linz(AT),Oct13 •PracticalUtopias,Workshop,BrioniIslands(HR)Sep13 •Resilients-Exhibition,7thTriennialofContemporaryArtinSlovenia,Ljubljana(SLO),June-Sep13 •PARN-Publication,Jun13 •AreTheseBerriesMine,Talk@PixelacheFestival,Helsinki(FIN),May13 •NotationalResume-PARN,ClosingEvent,Linz(AT),April13 •RoboticWorkshop-NotatingMachines,Linz(AT),April-May13 •HotelResilients,Exhibition,Brussels(BE),March13 •PCB-Prototyping,Workshop,Linz(AT),Jan132012 •Flotilla,Resilients/Pre-enactment,Brussels(BE),Dec12 •NarrativeStrategies,Symposium,Funchal(PT),Dec12 •NonGreenGardening-HarvestParty;Linz(AT),Oct12 •UnattendedLuggage-PhysicalNarration;Cluj(RO),Oct12 •„OnTurtlesandDragons“,Publication,Sep12 •DataEcologies-BookSprint-Workshop,Linz(AT),Sep12 •DEVO-NoSatisfaction,music-lecture,Linz(AT),Aug12 •RoboticWorkshop,Linz(AT),Jun12 •DataEcologies12-Symposium,TheMapandtheTerritories,Linz(AT),Jun12 •ControloftheCommons-Exhibition;Brussels(BE),Jun12 •ControloftheCommons-Boattrip03;BelgianCanals(EUR),Jun12 •UnattendedLuggage-PhysicalNarration;NewYork(USA),May-Aug12 •SensingResilience-Workshop;Linz(AT),May12 •NonGreenGardening-Workshop02;Linz(AT),May12 •ControloftheCommons-Boattrip02;Donau(EUR),Mar12 •PARNActOtherwise-Conference;Brighton(UK),Mar12 •NonGreenGardening-Workshop01;Linz(AT),Mar12

Page 24: Time's Up Portfolio English

Laboratory for the Construction of Experimental Situations

Selection public Appearances

TIME‘S UP

•ControloftheCommons-Boattrip01;MurrayRiver(AUS),FEB122011 •ImTresor,derScheintrügt-PhysicalNarration;Wels(AT),Nov-Dec11 •TheKitchen-PhysicalNarration;Hongkong(CN),Nov11 •Time‘sUp-OpenLab;Linz(AT),Oct11 •ImprovingRealityConference-Lecture;Brighton(UK),Sep11 •StoredinaBankVault-PhysicalNarration;Brighton(UK),Sep-Oct11 •ControloftheCommons-PropelyourownVessel-Workshop;Linz(AT),Aug11 •BoatMania.2-cinematic/culinaryevening;Linz(AT),Aug11 •ControloftheCommons-BuildyourownVessel-Workshop;Linz(AT),Aug11 •NarrativeSpaceforMathMotivations-Lecture;UniversityofCoimbra(PT),Jul11 •MathematickalArts-Guidancethroughtheworldsofmathsandtextiles-Brussels(BE),Jul11 •ImGarten/IntheGarden-Exhibition-NordicoLinz(AT),May-Oct11 •ScripedExplorationofWaterMachines-Presentation;Linz(AT),Apr11 •WaterasMedium-Workshop;Linz(AT),Apr11 •PachubeInternetofThings-Hackathon;Linz(AT),Apr11 •TUART-AustralasianRegionalTour2011-Workshops&Lectures; •Sydney,AdelaideundPerth(AUS)+Shanghai&HongKong(CN),Jan-Mar11

2010 •HyperbolicPong-InteractiveInterface,Linz(AT),Nov10 •20SecondsintotheFuture-physicalNarration,Linz(AT),Nov10 •BoatMania-cinematic/culinaryevening;Linz(AT),Oct10 •Workingman‘sDead-Lecture,Linz(AT),Aug10 •Aestheticandmathematicalresearch-lecture,Pecs(HU),Jul10 •Researchmodalities:for,withandinExperimentalSituations-lecture,Dublin(IR),Jul10 •Compendulum-interactiveinstallation;WAFER-Festival,Waterford(IR),Jul10 •It‘snoteasybeinggreen-exhibition;Mürzzuschlag(AT),Jun-Aug10 •LivingwiththeMachine-Workshopseries,UniversityforappliedArt,Vienna(AT),May10 •e=1/2mv^2-Workshop,ArtUniversityLinz,Apr/May10

2009 •LivingwithSystems-lecture,Vienna(AT),Dec09 •DataEcologies09-symposium,Money&Value,Brussels(BE),31.Oct09 •NarrativeStrategies-seminar,Oslo(NO),13.-15.Oct09 •BlackBoxSessions-Architekturforum,Linz(AT),29.Sep-31.Oct09 •DomesticBliss-physicalnarration-installation,Linz(AT),Jul-Sept09 •MayHEM,Festival&Eventhacking,Linz(AT),Apr-May09 •WorkshopsounddevicesandmachinecompositionwithStaalplaat,Linz(AT),May09 •Workshop-PDAiPodhackingattheLinuxWeeks,Linz(AT),Apr09 •Workshoprobotics&machinemusicforInterfaceCultures-ArtUniversityLinz,(AT),Apr09 •LuminousGreen,Presentation,Transmediale,Berlin(DE),Jan09 •Dorkbot,Linz(AT),Feb092008 •TwixtVille-VerflixtVille,Presentation,Linz(AT),Nov08 •Time‘sUp-TheLaboratory,lecture,Kiberpipa,Ljubljana(SLO),Nov08 •AugmentedMaze,PublicExperiment,HAIP08,Ljubljana(SLO),Nov08 •LuminousGreen,WorkshopwithgRig(EU-Partnerinnen),Linz,(AT)Oct08 •KnowtheRopes,Party,Linz,(AT),Sep08 •NarrativeStrategies,symposium,Linz(AT),Jun08 •PublicExperiment,Workshop-Presentationen,Linz,(AT),Jun08 •Letsputthefuturebehindus,Workshop,Linz(AT),May/Jun08 •ConstructionofExperimentalSituations-lecture,DonauuniversitätKrems,(AT)May08 •acoustictidbits;muisc-event,HafenkantineLinz,(AT),May08 •RagTag,VideoandMoviesites-Workshop,InteractiveInstitute;Stockholm(SE),Feb08 •ConstructionofExperimentalSituations-lecture,FHSHagenberg,(AT),Jan082007 •gRig,DeveloperMeeting,Foam;Brussels(BE),Nov07 •ConstructionofExperimentalSituations-lecture,LB-Institut;Linz(AT),Nov07

Laboratory for the Construction of Experimental Situations

Selection public Appearances

TIME‘S UP

•ZweiSchlägerundeinBall-exhibitionPongMythos;Bern(CH),Aug-Sep07 •Wecangoonforever-themeorientadedparty,Linz(AT),Aug07 •BodyMedia/GraviTron-InteractiveInstallation,Shanghai(CN),Jul-Aug07 •gRig-DeveloperMeeting,Linz(AT),Jul07 •DataEcologiesIII-symposium,correlationsofdatasystems,Linz(AT),Jul07 •Projects,Plans&MethodsTime‘sUp-lecture;Berlin(DE),Jul07 •TheHub-Workshop;Berlin(DE),Jul07 •InterfaceOpen-Workshop,Sensoric-In&Output;Berlin(DE),Jul07 •S.P.I.E.L.E.N-InteractiveInstallation,MIMandAdventurousPlayground;Berlin(DE),Jun/Jul07 •„PureResearch“-Workshop,ArtUniversityLinz;Linz(AT),May07 •„Electronicsformakingthingsgobang“-Workshop;Linz(AT),Apr07 •SonicPong-ExhibitionPongMythos;Frankfurt(DE),Nov-Jan072006 •PerthSIGGRAPH-Invitedlecture;Perth(AUS);Dec06 •CGIE2006-Lecture;Perth(AUS);Dec06 •Dorkbot-Lecture;Sydney(AUS);Nov06 •ENGAGE06-Keynotelecture;Sydney(AUS);Nov06 •„VirtualorPhysical“-Invitedlecture,MedienKunstLabor;Graz(AT);Nov06 •WürdigungspreisderStadtLinz;Nov06 •SonicPong-ExhibitionPongMythos;Frankfurt(GER);Nov2006-Jan2007 •ASTRON-InteractiveInstallation,HAIP;Ljubljana(SLO);Oct06 •BodySPIN-InteractiveInstallation;ImpulseNextGeneration,IS06;Linz(AT);Oct06 •BodySPIN-Videoinstallation;SensiSottroSopro;Rom(IT);Sep-Oct06 •SonicPong-GamesConvention,Leipzig(GER);Aug06 •ASTRON-PublicExperiment,Linz(AT),Jul06 •BodySPIN-CrashTestDummy,InteractiveInstallation;Ljubljana(SLO),Jun06 •EinSchiffamHimmel-SymposiumabouttheDanubeandthedreams;Linz(AT),Jun06 •ThemDamnRobots-It’sAlive!;WorkshopArtUniversityLinz;Linz(AT),Jun06 •BodySPINonVideo-Videoinstallation;Shanghai(China),May06 •BodySPIN-CrashTestDummy,InteractiveInstallation;Budapest(H),May06 •TRG-BookRelease,Linz,(AT),May06 •BodySPINBonVoyage,PublicExperiment;Linz,(AT),Apr06 •SensoryCircus,InteractiveInstallation;AVFestival,Middlesborough(UK),Mar06 •SonicPong-ExhibitionPongMythos;Stuttgart(GER),Feb062005 •RealWorldDataWorkshop,Vienna(AT),Oct05 •CavityResonator,Piksel-Festival;Bergen(NOR)Oct05 •LivingindustrialHeritage,Lecture/Symposion,Prag(CZ);Sep05 •FragmentsofSensoryCircus,OutinOpenFestivalZagreb,(HR);Sep05 •SwingOUT,PublicExperiment,Linz(AT);Aug05 •punkrockchangedourlife,event,Linz(AT);Jul05 •F.A.R.O-event;Linz(AT);Juni05 •comeondownintotheengineroom.,event,Linz(AT);Jun05 •TransientRealityGenerators,Symposium&Performance,Nadine,Brussels(AT),May05 •SpaceandPerception-SymposiumonMixedReality,RIXCMediaSpace,Riga;Latvia,May05 •DataEcologieII-simulatedphysics,Linz(AT),May05 •”Itdontmeanathing,ifitaintgotthatSwing”,-interactiveInstallation,KIBLA,Maribor(SLO),Apr05 •SensoryCircus-InteractiveInstallation,PresentationEXIT,Creteil(FR)Apr05 •SensoryCircus-InteractiveInstallation,PresentationVIA,Maubeuge(FR)Mar052004 •FitnessForEVER-InteractiveInstallation,PresentationICI,Paris(FR),Dec04 •BarBot-InstallationSensoryCircus,PresentationDEAF,(NL)Nov04 •SensoryCircus-InteractiveInstallation,PresentationArsElectronica,Linz(AT)Sep04 •CavityResonator-publicexperiment,Linz(AT),Aug04 •Time’sUpalltogether-Videopresentationen,VIBIC-Zürich(CH),Aug04 •RealityShift-publicexperiment,Linz(AT),Jul04 •AnchortronicDVD-PresentationFestival„ShaketheLimits“Sofia(RU),Jun04 •realtimeconnected-WorkshopUniversityforAppliedArt,Vienna(AT),Mar04 •BodySPIN-CinemadeFutureExhibition,Lille(FR),Dec03-Mar04

Page 25: Time's Up Portfolio English

Laboratory for the Construction of Experimental Situations

Selection public Appearances

TIME‘S UP

•BarBOT-PresentationBarbot,Vienna(AT),Feb042003 •InteractivityforDummiesWorkshop,ArtsCenter,Hongkong(CN),Oct02 •PartyBOT,Roböxotica,Vienna(AT),Nov03 •BecomingDigital-Time’sUpPresentation,MaMa,Zagreb(HR),Oct03 •Human-Machines&more,MediaSpace-Festival,Stuttgart(DE),Oct03 •DigitalEmmy-Automata2003conference,Leuven(BE),Sep03 •InformaticaFeminale-Lecture,UniversitätBremen(DE),Aug03 •LightningDistrict-NoConceptFestival,Stralsund(DE),Aug03 •DorkBOT#2-vvvv.meso.net,Linz(AT),Apr03 •SensoryCircus-Fragments,publicexperiment,Linz(AT),Jun03 •DorkBOT#1-LLoopp,Linz(AT),Apr03 •DecompressionSymposium-final-presentationTxOOm,Brussles(BE),Apr03 •Anchortronic-DVD-Presentation,Festival„HiriMusiKaK“,SanSebastian(ES),Mar03 •Anchortronic-DVD-Presentation,Festival„Play&Plug“,London(GB),Mar03 •DataEcologyWorkshop-Symposium,Linz(AT),Apr03 •ABalancedAct-InteractiveInstallation,Maribor(SLO),Feb/Mar03 •HapticInterfaces-Workshop,Karlsruhe(DE),Jan03.2002 •Anchortronic-DVDReleaseParty,KAPU,Linz(AT),Dec02 •SonicPong-InteractiveInstallation,MicrowaveFestival,Hongkong(CN),Nov02 •Realtimeprocessing,Workshop,Videotage,Hongkong(CN),Oct02 •Anchortronic-DVDPresentation,„SteirischerHerbst“Graz(AT),Oct02 •GenerativeMediaSystems-Workshop,Linz(AT),Sep02 •SonicPong-PlaygroundFestival,Stralsund(DE),Aug02 •txOomprocesslab-Workshop,InteractiveInstitute,Visby(SE),Aug02 •TransCodecExpressTCE-StreamingMedia,OKLinz(AT+Internet),Jun02 •InspirethroughTranspire-circularinteractivedigitalInstallation,Linz(AT),May/Jun02 •BodySpin-InteractiveInstallation,EXITFestival,MaisondesArtsCréteil,Paris(FR),Mar/Apr02. •BodySpin-VIAFestival,LeManège,Maubeuge(FR)Mar02 •TimeMaze-publicexperiment-InterfaceSPIN,Linz(AT),Jan022001 •Anchortronic-DVDPresentationLinz(AT),Dec01 •WhyFestivals-paneldiscussion,EtherFestivalinPerth(AU),Dec01 •BodySpin-InteractiveInstallation,Linz(AT),Dec01 •ExploringSpaces-publicexperiment,Linz(AT),Nov01 •BodyMotion-controlBody-Lecture,V2-wiretap,Rotterdam(NL),Nov01 •AnchortronicNetLoop,collaborativeAudioundVideocomposition(AT,AU,US+Internet),Oct01 •LivinginMixedReality,lecture,CAST01,Bonn(DE),Sep01 •AutomatedData-lecture,Porquerelles(FR),Sep01 •AcousticSpaceLab-InternetCollaboration-opensourcesamplinginIrbene(LV),Aug01 •ClosingtheLoopq_#3,KAPULinz(AT),Aug01 •CTL01Workshop,LugarComum,Lissabon(PT),Jun/Jul01 •SonicPong-InteractiveInstallation,BiennaledeLyond‘ArtContemporainLyon(FR),Jun-Sep01 •DUST2905-collaborativeOnlineAudioPerformance,(AT,AU,US+Internet)May01 •BodySpin-InteractiveInstallation,DuisburgerAkzenteFestival(DE),May01 •Doityourself-editingvideo-patternsviaInternet,V.Stream21,Linz(AT),Apr01 •Anchortronicgoeswest-collaborativeaudioworkshop,Chicago(US),Apr01 •BodySpin-lecture,Transmediale01,Berlin(DE),Feb012000 •SonicPong-InteractiveInstallation,80/81,Torino(IT),Dec00 •TransientIII-Sound&Gameplayworldwide,(US,AU,EU),Nov00 •Dynamicsininitiatives-lecture,Designskole,Kolding(DK),Oct00 •TransientII-network-performanceduringnet.congestionFestival,Amsterdam(NL,AU,AT,US)Oct00 •BodySpin-InteractiveInstallation,ArsElectronicaFestival,Linz(AT),Sep00 •DUST-network-performance,Frameries(BE)undLinz(AT),May00 •HyperFitnessStudio-InteractiveInstallation,Frameries(BE)Apr-Aug00 •HyperFitnessStudio-MaisondesArtsCréteil,Paris(FR),Mar00 •AveritablePongSonique-InteractiveInstallation,Biomachines,Adelaide(AU),Mar00

Laboratory for the Construction of Experimental Situations

Selection public Appearances

TIME‘S UP

•InternetwidensDistances-publicClosingTheLoop00Event,Adelaide/Linz(AU/AT)Feb00 •CTLWorkshop-laboratoryforsound-networking-gameplay,MRC,Adelaide(AU),Jan/Feb00 •SonicPong-Nantes(FR),NewYear99/001997-99 •VELO-InteractiveInstallation/publicintervention,Hanoi(VN),Mar99 •HypercompetitionforBeginners-InteractiveInstallation,in„ThePerformanceSpace“,Sydney(AU),Mar99 •Hypercompetition-V2_Organisatie!,Rotterdam(NL),Sep98 •SportsBar,RobotronikaFestival,Vienna(AT),Jun98 •AnEveningSpentinaHypercompetitiveStateofMind-Spiel.ArtFestival,Munich(DE),Oct97 •AnEveningSpentinaHypercompetitiveStateofMind-ArsElectronicaFestival,Linz(AT),Sep97 •Hypercompetition-VIAFestivalMaubeuge(FR),Jun97 •Hyperfitness-EXITFestival,Paris(FR),Mar97

Page 26: Time's Up Portfolio English

TIME’S UPFUNDERS

Coproducers, single projects